Teto da Capela Sistina: detailed analysis of all you painéis
Na Capela Sistina you will find some of the most emblematic works of all of Renascença Italiana and that I look at some of the most famous in the world. O teto da Capela Sistina was painted with a fresh technique by Michelangelo Buonarroti, work that was entrusted hair Pope Julius II (1443- 1513).
As Michelangelo has declared a preference for sculpture, which he considered to be a major art, and If he was recognized as a sculptor above tudo, it was a reluctance that the aceitou called for the Dad.
The work began to be carried out in 1508 and ended in 1512, which was an impressive undertaking, and I am in contact with the fact that the artist will have a totality of the mature and dedicated work.
Analysis of Pinturas do Teto
A main division of the teto is feita em nove painéis that represent dinners do livro do Gênesis. This escolha of theological theme establishes a link between the primordios of the history of homeme Vinda de Cristo, since the figure of Christ is not present in the pictorial composition of the teto.
As figures, however pictorial, are influenced by sculpture and barnacle, it is important that they are developed by the artist's work. In the same way, the images revealed the mastery of the artist in the representation and knowledge of human anatomy.
As figures are predominantly strong, energetic, powerful, but also elegant. A long year of space, gigantic and muscular images contorcem-se quase in an impossível way, attributing movement to the entire composition and also a positive energy.
This vivacity of the composition is certainly a reflection of the historical moment that Italy lived and that would soon spread throughout Europe. It was not just a rebirth of classical art that breathed, but also a rediscovery of Greek philosophy and Roman humanism.
A nova Europa was emerging, leaving behind Mid Idade and entering Modern Idade, where the center of the 'world' became or Homem.
You news painéis contam a historia da criação. Or first represents the light being separated from the trevas; The second portrays the creation of the sun, the moon and two planets, and the third represents a land being separated from the sea.
A criação de Adão
O quarto panel é a criação de Adão, one of the most widely disseminated and recognized images worldwide. Here Adão is languidly reclining, as it is understood that by pushing Deus to a last effort to get to touch Adão's fingers and thus be able to give life to centelha.
On the contrary, the "preguiçosa" figure of Adão, God is endowed with movement and energy, and his hair moves with an invisible breeze. Debaixo do seu braço esquerdo, Deus takes the figure of Eva who intimately sure is not her arm and patiently waits for Adão to pray to centelha gives life to also receive the power.
See a more detailed analysis of the work A Criação de Adão.
No fifth panel (and central) we see by fim a criação de Eva; no sixth we fear expulsion from paradise of Adão and Eva; no seventh is represented or sacrifice of Noah; no oitavo or universal flood and no nono, that is or last, into the drunkenness of Noah.
By tilting you painéis we also have an alternate representation of Prophets (Zacharias, Joel, Isaías, Ezequiel, Daniel, Jeremias and Jonas) e Sibyls (Delphic, Eritrea, Cumana, Persian and Libyan). This is a fair position between Christianity and paganism, something that some historians consider to have been a subtle way found by the artist to criticize Igreja.
You painéis, and the remaining pictorial composition, are molded by painted architectural elements (including sculptural figures) with extreme realism and as quais as interragem figures. Some sit down, some sit back, some elements of false architecture.
We four songs of the whole are also a representation of the four great salvações of Israel, and Backshaved hair in the center of the composition, we see twenty male figures still seated, as you "Ignudi”, Not attributed to me as my own artist.
These figures appear in pairs of four surrounding five two nine painéis do teto, usually not " Noé ”, not“ sacrifice of Noah ”, na“ creation of Eva ”, na“ separation from terra do mar ”and na“ separation of light and da draining ”. Therefore, it is not known exactly or what it represents because of its inclusion.
O Final Judgment
More than twenty years later, Michelangelo returned to Capela Sistina to perform O Juízo Final (1536-1541) a fresh painting on the wall of the altar of Capela. This work was entrusted to Michelangelo pelo Pope Clement VII (1478-1534), but a work sóteria início após a morte desse Papa e já sob o pontificate of Paul III (1468- 1549).
Contrasting with vitality, or rhythm and radiant energy, two fresh fruits, a representation of the Final Judgment and somber and a composition of bodies with a real structure. Total no. Are represented thirteen and ninety e um corpos, originally portrayed a nu (including Virgem).
A composition is dominated by the central figure of a Christ who is implacable and fearful. As a foundation we have a ceu that is torn at the bottom we see how the angles play the trombetas announcing or Final Judgment.
On the side of Christ to Virgem olha for the side, as if refusing to enxergar or chaos, misery, or suffering and as all sinners will be thrown into hell.
Uma das figures represented é São Bartolomeu That he is safer because of his sacrifice and another to his flabby skin, and in which Michelangelo decided to conceive his self-portrait. Assim, the deformed face of the flabby skin and the artist himself, perhaps a metaphor to represent his tortured soul.
The differences between the paintings on the ceiling and on the altar wall will be related to a different cultural and political contextualization at the time when the work was done.
Europe was experiencing a spiritual and political crisis, we are beginning the years of Reform that will give rise to cisão inside the Igreja, and it seems that this composition serves as a warning that you inimigos da Igreja are doomed. I have not lost, for Christ and implacable.
Like all the figures of this work that have yet been painted, we will continue to be controversial for years. rising from tom, pois many forams that will accuse Igreja of hypocrisia and consider me painting of pornography.
For more than twenty years, the defamers give a fizeram questão to support the idea that Igreja was harboring them. das suas principais installations a pornographic work, fazendo also campanha insistent so that as paintings fossem destroyed.
Temendo o pior, a Igreja, na pessoa do Pope Clement VII (1478-1534) commissioned that some of our fossem be repainted, in an attempt to preserve the original work, also preventing its destruction. This work was carried out by Daniele da Volterra no ano da morte by Michelangelo.
Restoration Work
The most recent interventions (1980 and 1994) of restoration in Capela Sistina, focused on cleaning two Afrescos, we will reveal a side of Michelangelo that was being ignored by historians, not intentionally.
Até então only to form and or design was louvados nessa work, attributing or focus to or development at the detriment of the cor. Porém, clearing the secules and smoking of candles revealed a vibrant color palette in an original work by Michelangelo. In this way proving that the artist was not only a genius of design and sculpture, but also an excellent colorist at the level of Leonardo Da Vinci himself.
To Capela Sistina
Capela Sistina (1473-1481) is located in the official residence of the Pope, not the Apostolic Palace, not the Vatican, and its construction was inspired by the Temple of Salomão. He is the Pope who conducted Mass pontifically, and he is also the Conclave meets to elect a new Pope.
A Capela served as an atelier for some two major Italian Renascença artists, not only Michelangelo, but also Raphael, Bernini and Botticelli.
But it is inegável that you look at the simple menção do nome da Capela brings us back to you for those great afrescos do teto e altar executed by Michelangelo.
Michelangelo Buonarotti
Michelangelo (1475-1564) was one of the two greatest works of Renascença and is considered one of the two greatest genres of art of all times. Even in life, he was still considered, and to himself he attributed abilities to the average.
Allegedly difficult treatment of his genius, he was, however, acknowledged when he was still very young. He frequentou to the office of Domenico Ghirlandaio e fifteen years Lourenço II de Medici he or took over his protection from him.
Humanist and fascinated by classical herança (which has been experimented or seu more important artistic revivalism), the work of Michelangelo focuses on the human image as the essential vehicle of expressão. Nessa preference is also evident to strong non-artist influence of classical sculpture.
Conheça also
- Sacred Art
- Renascimento: a guide on the artistic movement
- Byzantine Art
- Michelangelo: works to know or genius
- Pietà sculpture, by Michelangelo
- Homem Vitruviano, by Leonardo da Vinci
- Renascimento: all about Renaissance art
- Davi sculpture by Michelangelo
- Leonardo da Vinci: fundamental works
- A School of Athens, by Rafael Sanzio
